/ 


f 


1 


CHOPS, 


IN  ONE  ACT, 

> 


BY  G.  SnACKELL. 


FEOM  the  AUTHOE’S  oeiginal 

M.XN  USCEIET. 


Entered  according  to  act  of  Congress  in  the  pear  1886,  hv 

A.  D.  AMES, 

in  the  office  of  the  Librarian  of  Congress  at 'Washington, 


♦ 


■  "  >• 

- CLYDP.  OFTO: - 

A.  D.  AMES,  EUBLISHEE.- 


CHOPS, 


CHARACTERS. 


Frederick  Johnson, 
Mr.  Cornwell, 
Chops, 


A  young  Doctor. 
A  visitor  f  rom  the  country. 

A  negro  servant. 


o 


COSTVMES. 

Johnson — A  litsiness  suit. 

Cornwell — Shabby -genteei. 

Chops — Extrmagent  waitePs  d/)^ess,  high  collarr 

^OENE— A  PLAIN  BOOM. 


TIME  OF  PLAYING— TWENTY-FIVE  MINUTES. 


STAGE  DIBECTIO^S 

11.,  meATis  Right;  l..  Left;  r.  h..  Right  Hand,  l.  h..  Left  Hand;  o..  Centre;  3.  a  • 
[2d  K.,|  Second  Entrance;  u.  k..  Upper  Entrance;  m.  d.,  Aliddle  Door;  f.,  the  FLU; 
D.  F.,  Door  in  Flat;  b.  c..  Right  ot  Centre;  l.  c.,  Left  of  Centre. 

K.  R.  C.  C.  L.  0*  Ki* 

The  reader  is  supposed  to  be  upon  the  Stage,  facing  the  audienoe. 


\  ^ 


I 


•5 


CHOPS. 


si 

-  SCENE,— room.  Table  c.  with  two  chairs,  a 

ChfW^  /‘ill  ^  /^M  l\  i  *1~X  ^  _ _ —  ' 


small  table  R.  fo-r  Chops 


Johnson  discovered  standing  with  a  note  in  his  hand. 


Johnson.  This  is  very  annoying,  we  have  just  had  din¬ 
ner,  and  in  comes  our  old  friend  Cornwell  to  make  a  visit. 
-  3'S  a  bear,  no  doubt,  and  I  guess  there  is  not  much 

left  in  the  larder,  and  to  make  it  worse  1  have  received  a 
^  summons  from  one  of  my  patients  to  come  at  once,  and  per- 

v  ^  hours.  I  shall  be 

^  obliged  to  leave  friend  Cornwell  in  Chop.s’  care,  and  Chops 

although  a  splendid  servant,  is  always  up  to  some  trick,  and 
i  am  afraid  he  will  be  trying  some  of  them  upon  my  visitor 
lietore  I  return.  Mr.  Cornwell  is  a  peculiar  old  gentleman 
and  i  would  not  have  him  abused  for  the  world.  However’ 
i  must  caution  Chops,  and  also  see  what  there  is  for  mv 
iriends  lunch,  {calls  Chops)  Chops !  ^ 


rs- 


't 


N 


V 
^  ■ 


Enter  Chops  slowly,  r.  u.  e.  a  paper  in  his  hand  which  he 

is  reading. 


Chops. 


Abeuni  Lincum  say  he’s  a  gwine  to 
Free  all  de  niggers  in  de  war. 

Old  massa  Johnson  say  he’s  a  mind  to 
See  how  Abeum  do  dat  da. 


t 


4 


CH0P3. 


He  'runs  against  Frederick  as  he  finishes.  Starts  when  he 

sees  him. 

Chops.  Dat  yon  raassa?  didn’t  know  you  was  here? 

Frederick,  {sharply)  Didn’t  know  I  was  here?  didn’t 
you  hear  me  call  you  ? 

Chops.  Di — did  you  call  me  massa? 

Fred.  Yes  I  did.  Where  did  you  get  that  verse  you 
were  reading? 

Chops.  Dis  verse  ?  Yes,  dat’s  one  of  mine.  You  didn’t 
know  I  was  a  contributor,  did  you  ? 

Fred.  You  a  contributor? 

Chops.  Oh,  yes  massa,  I  can  make  more  at  dat  dan 
working  out;  so  I’s  going  to  leave  you  next  week. 

Fred.  Going  to  leave? 

Chops.  Yes  gwine  to  leave.  I’s  tired  of  working  for 
three  dollars  a  week. 

Fred.  Don’t  it  find  you  too? 

Chops.  Guess  you  does  find  me,  but  I  haven’t  found  de 
three  dollars  yet.  I’s  made  an  engagement  to  contribute 
for  de  ‘^New  York  Bomb  Shell.”  I  do  all  de  heavies,  and 
throw  all  de  big  political  bombs.  Won’t  make  big  pay 
right  away  till  I  get  used  to  it;  but  after  dat,  why  I  just 
rake  in  de  money.  Just  started  last  week.  Course  can’t 
expect  to  make  much  on  de  start,  but  I’ll  get  more  after 
awhile. 

Fred.  Well,  Sam,  sorry  you  are  going  to  leave,  and 
hope  you  will  do  well,  and  if  you  want  to  come  back  to 
work  for  me,  why  all  right,  {aside)  He  will  be  back  in  a 
week.  Say,  Chops,  I  have  an  old  friend  come  in,  and  you 
must  get  him  a  lunch.  He  has  coiiie  a  long  way,  and  must 
be  hungry.  I  am  called  away,  and  shall  not  be  back  for 
some  time.  1  want  you  to  be  polite  to  Mr.  Cornwell,  treat 
him  nicely,  and  be  sure  you  don’t  get  up  to  any  of  your 
tricks.  What  can  you  give  him  for  a  lunch? 

Chops.  Don’t  know,  massa,  we’s  done  got  away  wid 
about  ebery thing  ’cep tin’  de  chicken  you — you  brought  for 
to-morrow. 

Fred.  Ah,  that  will  do,  give  Mr.  Cornw^ell  some  choice 
bits  of  that,  some  wine,  and  anvthing  else  vou  can  find. 
Now  get  lunch  ready  at  once,  and  mind  what  I  told  you. 


OH  OPS. 


5 


{exi.t  Chops,  r.  Fred  looking^  l.)  Here  comes  Cornwell 
now. 

Enter  Cornwell,  l.  they  shake  hands, 

Fred,  Mr.  Cornwell,  I  am  sorry  to  say  I  am  called  away 
to  see  a  patient,  and  will  be  obliged  to  leave  you  in  care  of 
ray  servant,  Chops.  He  will  get  you  a  lunch  at  once,  and  I 
hope  you  will  along  all  right  till  I  return. 

Corn.  Well,  Frederick,  I  am  sorry  you  must  go,  but 
you  needn’t  be  at  8ll  anxious  about  me;  Chops  and  I  will 
get  along  all  right,  (aside)  I  hope  that  nigger  will  hurry 
up  the  lunch,  I  am  hungry  as  a  wolf. 

Fred.  Come  in  here,  Mr.  Cornwell,  and  I  will  show  you 
something  to  fmiuse  yourself  s  with  till  Chops  gets  lunch 
ready. 

Com.  All  I  C  l.,  Frederick,  I  am  coming,  {looking  hack 
wistfully  at  table)  Gewhilekers  my  stomach ! 

(exeunt  L.  u.  E. 

Enter  Chops,  R.  n.  e.,  bringing  tray  with  small  cooked 
chicken,  hony  and  very  much  over  done.  Large  knife, 
hatchet,  also  bottle  of  wine  and  two  glasses.  Places 
bottles  and  glasses  on  table  c.,  tray  and  chicken  on 
side  table  as  he  comes  in. 

Chops.  Canary  birds  on  toast.  Well,  dat  am  de  toughest 
chicken  I  eber  seed.  Broke  three  carvin’  knives  trying  to 
get  thro  his  hide.  Guess  massa  bought  him  at  a  bankrupt 
sale.  I  cooked  him  about  ten  hours,  and  he  ain’t  showed  no 
signs  of  gettin’  tender  yet.  (goes  over  to  table,  c.,  pours 
out  wine,  and  drink^  Oh,  goodness,  dat’s  lovely!  Massa 
don’t  let  me  hab  any  of  dat  very  often.  Now  if  dat  old  hay¬ 
seed  hadn’t  come,  Fd  agoiie  fishing  wid  another  coon,  and 
he  had  a  bottle  about  dat  long  wid  him.  Yum,  yum!  Den 
massa  he  wouldn’t  let  me  go,  cause  he  had  company  come. 
By  golly,  ril  get  eben  wid  old  hay  seed  for  dat.  Gee,  Fll 
hab  more  fun  wid  him  dan  a  circus,  (goes  to  side  table  picks 
up  the  chicken  by  leg)  A  few  choice  bites!  Bv  golly,  dar 
aint  been  no  choice  bites  on  dis  ar  fowl  since  Noah’s  Ark  lit 
on  P)Unker’s  Hill  !  Dat’s  a  rooster  ebery  time.  He’s  been 
roostin’  around  so  long,  he’s  got  humpbacked.  Dis  must 


6 


CHOPS. 


hab  been  de  chicken  dat  scratched  up  all  Caines  clover  seed 
in  de  garden  of  Edt;n.  Ya,  yal  He’s  a  daisy,  he  is. 

{slajos  it  down  on  table. 

Enter  Cornwell,  l.  u.  e. 

Corn.  Say,  Chops,  haven’t  you  got  thatar  lunch  ready 
yet?  ^ 

(Chops  looJcs  at  him,  turns  o/round  and  loAighs  to  himself. 
Chops,  [aside)  Oh,  look  at  de  old  sardine] 

He  continues  to  Icmgh.  Cornwell  comes  over  and  slaps 

him  on  back,  Chops  starts. 

Corn.  What  are  you  laughing  at,  you  white-washed 
angel  ? 

Chops,  I  wasn't  lafin'. 

Corn,  Yes,  you  was. 

Chops.  No,  honest  I  wasn  t 
Corn,  I  tell  you  I  kno^  you  was. 

Chops.  Den  I  must  hab  been  lafin'. 

Corn.  Of  course  you  was,  you  can’t  fool  me. 

‘  Chops,  Dat’s  all  right,  who  said  I  wasn’t? 

Corn,  Y"ou  did.  Now  see  here,  have  you  got  that  luncb. 
ready ! 

Chops.  Say,  massa,  v/hat's  your  name? 

Corn.  My  name  is.  Cornwell.  Drove  in  thirteen  miles 
this  mornin’,  and  I  am  about  cavin’  for  something  to  eat.. 
What  have  you  got  for  lunch? 

Chops.  Got  some  bery  tender  chicken  here.  I'll  give 
you  a  few  choice  pieces  ob  dat,  and  a  bottle  of  elegant  wine, 
dat’s  all  I  can  scrape  up. 

Corn.  Well,  hurry  up  and  cut  that  chicken,  I’m  starved. 

Chop.  Well,  say,  massa  Carnstock - 

Corn,  Cornwell  I  told  you. 

Chops.  Yes,  dat’ft  whai  I  said.  Cornfield.  Say,  massa 
Gorncrib,  if  you  just  sit  down  here  and  look  ober  de  paper, 
I’ll  hab  de  chicken  ready  in  a  minute,  {hands  paper)  Dat’s 
de  last  paper. 

Corn,  t^akes  paper,  sits  at  c.  table  facing  the  audience) 
This  ain’t  the  last  paper,  it’s  a  rveek  old. 

Chops.  Oh,  no,  massa,  d^t  de  last;  got  it  outen  da 
post  office  dis  mornin . 


CHOP®. 


7 


Corn.  I  tell  you  its  a  week  old;  look  at  the  date.  July 
16th.,  that’s  last  week. 

Chops.  Oh,  you  can’t  tell  nuffin’  by  dat,  dey  just  forgot 
to  change  de  date,  dat’s  all. 

Corn,  Well,  hurry  up  with  that  chicken. 

Chops.  Yes,  massa.  {^goes  hack  of  Cornwell’s  chcdr 
examines  attentively  his  hold  head)  By  golly!  whai  a 
sk’-iting  rink  dat  would  make.  Looks  like  a  Minnesota  farm 
after  de  grasshoppers  had  make  a  call.  • 

Corn,  {sees  him  and  turns  qvnckly)  What  are  you 
doing  there? 

{as  he  speaks,  points  to  apiece  im  paper  a/nd  reads. 

Chops.  Horrible  slaughter !  Three  persons  burnt  up  by 
a  cyclone. 

Corn,  {angry)  Will  you  bring  that  chicken? 

Chops.  Yes,  massa,  you  shall  hab  it  at  once. 

Cornwell  pours  wine  in  glass  sets  on  table.  Chops  starts 
for  side  table,  hut  sees  wine,  and  as  Cornwell  turns 
to  paper,  C'hops  drinks  wine,  then  goes  to  chicken^ 
chops  off  one  leg  icith  hatchet.  Next  sharpens  knife 
on  floor,  and  succeeds  in  cutting  off  several  pieces  of 
skin  and  hones — exerts  himself  very  much.  Cornwell 

'  turns,  takes  glass,  carries  it  to  mouth,  is  astonished 
to  flnd  vjine  gone.  Looks  at  glass,  then  at  Chops; 
seeing  Chops  at  vcork,  pours  more  vnne,  holding  it  in 
his  hand  after  tasting  it.  Chops  takes  large  straWy 
goes  up>  behind  him  and  drinks  wine  through  stravc, 
then  brings  plate  with  lohat  chicken  he  has  cut,  and 
places  before  Cornwell.  Cornavell  turns,  carries 
glass  to  month,  and  is  very  much  astonished  to  flnd  it 
empty,  hut  sets  glass  doion  and  turns  his  attention  to 
plate. 

Chops.  Dar,  massa,  dar’s  some  to  begin  on.  I’ll  hab 
some  more  directly. 


Coi^^^wYAA.devours  chicken  ravenously ;  flnally  chokes  very 
badly ;  gets  red  in  face.  Chops  runs  to  his  assistance, 
goe^  behind  chair,  gmlls  his  head  back,  succeeds  inpjull- 
iny  a  large  piece  of  skin  from  las  mouth. 


is 


.CHOPS, 


Corn, .  {recovers — to  Chops,  angrily^  Say,  bring  me  some- 
thing  I  can  eat,  npt  a  lot  of  skin  and  bones ;  hurry  up 
now. 

Ch/yps.  Yes,  massa,  you  shall  hab  some  in  a  second. 
{aside)  By  golly,  old  Cornfield  had  it  bad  time;  I 
tought  Gaberal  called  him  sure. 

Exit  and  returns  with  hand  saw ^ '  saws  chicken  in  two, 
takes  hath  pieces  to  table ^  also  takes  hottle  like  first 
marked  ' 'poison  throws  one  half  of  chicken  upon 
Cornwell’s  plate^  sits  in  chair  at  side  of  table^ 
and  heains  to  chew  at  the  other  half}  helps  himself  to 
tome  from  hottle  on  table. 

Com.  {sees  him)  Say,  drop  that  wine,  you - 

Chops.  Dot’s  just  what  I’m  doing,  massa. 

Corn.  I  mean  give  me  that  bottle  1 

Chops.  Oh,  dat’s  different  1 

Changes  bottles,  gives  Cornwell  poison  hottle.  Cornwell 
takas  a  swallow  or  two,  spits  it  on  the  fioor,  takes  up 
hottle,  sees  label  and  is  horrified}  turns  to  Chops  and 
finds  him  d/rinking  from  the  other  hottle,  gets  excited. 

Corn.  Say,  Chops,  was  there  poison  in  -this  bottle  ? 

Chops  takes  no  notice}  continues  drinking.  Cornwell 
gets  more  excited,  hangs  Chop;^  o  i  the  head,  and  repeats 
question.  Chops  jumps. 

Chops.  Yes! 

Com.  Well,  I  drank  some  of  it.  I’m  poisoned! 

Chops.  Guess  you  are.  {d/rinks. 

Corn,  {pleadingly)  Chops,  do  you  mean  that  ?  will  it 
kill  me  ? 

Chops.  Sure  thing.  If  you  drank  half  a  drop  of  dat 
stuff,  it  will  kill  you  deader  dan  dat  rooster. 

Corn.  Oh,  what  shall  I  do?  Oh,  Chops,  what  did  you 
give  me  that  stufi*  for? 

Chops.  I  didn’t  do  nuffin’,  what  are  you  talking  about? 

Com.  You  gave  me  the  bottle. 

Chops, ^  No  I  didn’t,  massa  Pop-corn,  I  just  had  de  bot¬ 
tle  in  my  haud ;  was  going  down  cellar  to  kill  some  rais. 


CHOPS. 


9 


and  you  took  de  bottle  and  drank  it.  But  you  needn't  make 
80  much  fuss  about  it,  you  might  as  well  die  now  as  any 
time.  You  got  to  die  some  time. 

Corn.  Oh,  Chops,  go  and  get  Frederick;  may  be 'he  can 
give  me  something ! 

Chops,  {d/rinking)  Habn't  got  time  massa.  You  needn't 
be  alarmed,  you’ll  die  all  right. 

Corn.  But  I  don’t  want  to  die ;  I  ain’t  ready  to  die. 

Chops.  Well,  you  better  get  ready  den;  you  better  say 
your  prayers,  and  go  and  lie  down  dar  somewhere,  and  die 
decent.  Don’t  make  so  much  noise  about  it;  you  interrups 
my  reflections.  {drinks. 

Corn.  Chops,  h-how  long  does  it  take  to-to  kill  a  per¬ 
son? 

Chops.  Well,  ’cordin’  to  de  way  it  lays  out  de  rats  I 
should  think  dat  you  would  last  for  as  much  as  ten  minutes 
yet. 

Corn,  i^eside  himself)  Ten  minutes!  Oh,  dear!  Oh, 
dear  !  (bows  head  on  table  and  moans  loudly,  then  sud¬ 
denly  jumps  up  ,  rushes  out  l.  u.  e.,  and  brings  up  against 
Fred,  who  is  coming  in,  both  fall  on  stage — Chops  roars 
with  Laughter.) 

Fred,  (getting  up)  What’s  this  !  What’s  the  matter  ? 

(Chops  sneaks  off  r.  laughing. 

Corn.  Oh,  I’m  poisoned,  I’m  poisoned  !  Give  me  some¬ 
thing,  quick! 

Fred,  (calls)  Chops !  Chops  i 
Enter,  Chops,  r.,  running,  looking  very  innocent. 

Chops.  Yes,  massa,  what  you  want? 

Fred.  Come  and  help  me  lift  him  to  a  chair,  he  says  he 
is  poisoned,  then  run  and  get  me  some  mustard  and  warm 
water.  Now  quick  !  (they  lift  him  to  chair,  exit  <  'hops 
R.,  running — CornaveiX  acts  very  sick)  What  is  it,  where 
did  you  get  the  poison  ? 

Corn,  (feebly)  I  drank  it  out  of  a  bottle,  thought  it 
was  wine. 

Enter,  Chops  r.,  with  large  dish  and  spoon,  gives  to  Fred, 


10 


CHOPS, 


Fred  gives  Cornwell  several  spoonsfull — Chops  trying 
to  assist,  laughing — medicine  maltes  Cornwell  warse, 

Fred,  You  must  vomit,  or  you  will  die.  How  do  you 
feel? 

Corn,  (very  sick)  I  feel  as  though  I  wanted  to  die. 
Chops.  Oh,  you  will  die  aii  right. 

Fred,  You  keep  still ! 

Corn.  It’s  all  Chop’s  fault,  he  gave  it  to  me. 

Chops.  Didn’t  do  no  such  thing,  didn’t  know  nuffin 
’bout  it. 

Fred.  Where  is  that  bottle  ?  {looks  around — sees  bot¬ 
tle)  Is  this  it  ? 

Corn.  Yes,  that’s  it.  Chops  gave  it  to  me. 

Chops,  No,  honest,  massa  Frederick,  I  didn’t  know 
nuffin  ’bout  it.  Guess  massa  Oorncrib  has  got  de  snakes, 
he  had  a  terrible  pile  of  wine. 

Fred.  Why,  this  is  not  poison,  it  is  only  salt  and  water. 
(angry)  Chops,  this  is  one  of  your  tricks,  you  shall  catch 
it  this  time. 

Fred  starts  for  Chops,  Cornwell  suddenly  recovers,  grabs 
up  broom  and  also  rushes  for  him,  they  chase  him  round 
stage,  Cornwell wheels,  using  broom  on  his  head^ 
Chops  shouting.  Frederick  following  Chops 

suddenly  stops,  stoops  down  ^^6'^  Cornweli.  goes  over 
him  falling  on  stage,  Frederick  stumbles  and  falls  over 
him — Chops  stands  near  laughing, 

CUKTAIN. 


\ 


THE  LA  lEST  IRISH  COMEDY,  IN  THREE  ACTS, 
BY  BILLY  F.  LEE— ENTITLED 


Muldoon’s  Blunders. 


For  five  mule  and  five  female  characters.  Time  of  play 

ing,  2  hours  and  15  minutes. 


SYNOPSIS  OF  EVENTS. 

ACT  I. — Muldoon’s  office — Katie  Muldoon  and  Otto  B.  Honest,  the 
actor — The  rehearsal  of  Damon  and  Pythias,  interrupted  by  Widow 
McGreevy — “Divil  a  bit  of  fun  did  I  see  at  all,  at  all” — Widow  Mc- 
Greevy  informs  Katie  of  her  fifth  matrimonial  venture — Sure  it’s 
your  father,  Larry  Muldoon  I’m  going  to  marry” — Katie  and  the 
Widowplanning  a  joke  on  Muldoon — Katie  pleads  the  Widow’s  cause 
— Muldoon’s  entanglement  with  Julianna — Katie’s  advice,  ’‘Marry 
the  one  you  love  best--Toby  and  Muldoon— “Murder!  murder!”— Katie 
comes  to  Toby’s  assistance — Julianna  threatens  Muldoon — “She’s 
daflfy” — “I’ll  commit  suicide” — The  joke  on  Muldoon — Serenade  by 
the  salvation  army — Widow  McGreevy,  Captain — Speech  by  the 

Widow,  which  is  over  heard  by  Muldoon - He  looses  his  temper — 

“I’ll  be  revenged.  I’ll  marry  Julianna  and  spite  the  Widow  ” — Mul- 
doon  and  the  Count — Adolph  Bismarck  warns  Muldoon — Widow 
McGreevy  on  the  war  path. 

ACT  II. — Bismarck  and  Otto  at  the  restaurant — Trouble  begins — 
The  changed  signs — The  downfall  of  Germany — Katie  and  Otto’s 
little  plan — Toby  earns  five  dollars — Muldoon’s  experience  in  getting 
a  license-Julianna  and  Bismarck-The  Widow  appropriates  J ulianna’s 
lunch — Toby — “Bar’ll  be  a  hot  time  in  the  Ole  town  to-night” — The 
Widow’s  lament — Tobyand  Julianna — Katie,  as  Julianna,  discovers 
the  Count’s  secret — Toby’s  abduct — The  mock  marriage  —  “Golly,  I 
kidnapped  de  wrong  gal.”  . 

ACT  HI.— Toby  and  Widow,  the  masquerade  ball— Widow’s  fine* 
music — Muldoon  and  the  Widow — The  mouth-organ — Otto  persuades 
Muldoon  to  appear  drunk,  in  order  to  unmask  the  Count  and 
Julianna — The  Widow  and  Muldoon — “Sure  and  he’s  drunk  as  a 
coon” — The  Count  and  Julianna  arrested — ‘'Faith  an  I’ll  marry  the 
Widow  afther  all.”  Price  25  eti. 


TRIXIE; 

-OR- 

The  Wizard  of  Fogg 

Island. 


A  drama  in  3  acts  by  Bert  C.  Rawley,  for  6  male 
female  characters.  Costumes  to  suit  charac¬ 
ters.  Time  of  playing,  1  houi*  and 

30  minutes. 


and  3 


SYNOPSIS  OF  EVENTS. 


ACT  I.  Scene  I. — Wt^bber  mansion — Mr.  and  Mrs.  Webber  discuss 
the  future  welfare  of  tiieir  son.  King — King  and  Jennie  return  from 
a  pleasure  trip — The  Wizard’s  prediction — Anthony  Webber  makes 
a  discovery — The  secret — “There  is  only  one  witness  to  my  crime!” 
— A  glimpse  of  the  past — The  fatal  card — “I  must  find  a  way  of 
escape.”  Scene  IL — Fogg  Island — The  Wizard’s  cave— Little  Trixie 
— A  song  brings  fond  memories — A  discontended  ladv — A  father’s 
good  advice — An  Irishman's  idea— The  lost  locket — The  loser  loses 
his  head.  Scene  III. — Webber  mansion — Teriy  and  Penny  Ante 
have  an  interview — Surprised— Father  and  daughter — The  sacred 
promise — The  living  witness — The  Wizard  appears. 


ACT  II.  Scene  I. — Wizard’s  cave — Terry  and  Penny  arrive — 
Penny’s  libber  out  of  order — The  Wizard’s  soliloquy — Trixie  and  the 
wounded  man — Tlie  dismay’  of  the  Wizard — King  Webber — Terry  is 
puzzled — Clitford  Ellison  arrives — His  resolve — A  glimpse  of  the  past 
— “Who  is  this  man?” — The  attempted  murder — Trixie  on  deck — 
Foiled.  Scene  //.—(Lapse  of  one  month)— Webber’s  mansion— Penny’s 
disordered  libber — Terry’s  little  scheme — Ellison’s  presentiments — 
Mother  and  son — A  mother’s  pleading — The  secret — “It  is  murder, 
my  son!” — The  TVizard  appears — “No,  my  friend,  your  father  is 
innocent” — May  God  bless  you.” 

ACT  III. — Webber  mansion — The  answer  given,  “No!” — -EllisoD 
threatens — Despair — The  evidence  destroyed — “Warner  Webber 
.ves!” — Foiled — Jennie’s  llight — The  Wizard’s  Daughter — United  at 
last.  Price  15cts. 


A  $10,000  WAGER. 

Farce  in  2  acts,  by  1.  M.  G.  Wood,  4  male,  2  female  characters. 
Time,  30  minutes.  ^liss  Clara  Parly,  Judge  Flint's  neice,  wages 
$10,000  that  he  will  give  his  consent  to  the  marriage  of  his  neice, 
Minnie,  to  Walter  Bland,  wlnnn  he  has  refused  to  accept  as  her 
suitor.  Tile  means  she  takes  to  obtain  the  wager  is  verv  amusing. 
The  characters  are  all  good,  will  make  a  good  after  piece.  Price  15c. 


^  U  nele 


-OR- 

J\ast  Plain  Kolk:m. 


A  Rural  comedy-drama  in  4  acts,  by  Edwin  Weever,  for  11  male 
and  4  female  characters,  (can  double  to  6  male  and  3  female  charac¬ 
ters.)  Time  of  performance,  1  hour  and  50  minutes.  A  play  of 
powerful  dramatic  interest.  Good  comedy  relieves  the  serious  plot. 
Scenes  are  laid  between  the  city  and  country.  Glean,  bright  and 
strongly  r*ecom mended. 


SYNOPSIS  OF  EVENTS. 

I 

I.T-Uucle  Zeb’a  farm — Zeb.  makes  his  toilet  in  anticipation  of  his  dangh- 
lev’s  homecoming — Joe,  her  girlhood’s  chum — The  villain  appears — Richard 
plots  to  rob  the  farmer  of  his  land — Taggs,  a  waif,  finds  a  friend  in  Uncle  Zeb. 
— Barkley,  the  jealous  miser — Plotting  to  steal  the  deed  of  the  farm — Rose’s  re¬ 
turn  and  the  meeting  of  Ri<*ha,rd — She  consents  to  become  Richards  wife  to 
save  her  father’s  home — “Little  gal,  your  happiness  is  my  only  pleasure  since 
your  mother  and  little  Mary  went  away” — Tlie  elopement — A  father’s  anguish. 

ACT  II. — Drawing-room  in  N.  Y.  City — The  plot  thickens — The  faimier  and  the 
telephone — Taggs  discovers  where  Richard  has  Rose  hidden — Meeting  of 
Richard  and  Violet,  his  wife — A  demand  for  justice,  which  is  refused — An  at¬ 
tack  a.nd  escape  of  Richard. 

ACT  III. — Den  of  Isaac  Lovinsky — Isaac  and  Rachel — Rose  a  prisoner — At¬ 
tempted  murder  ends  in  a  fight,  in  which  Violet  makes  her  escape — Taggs  ar¬ 
rives  in  the  nick  of  time  to  save  Rose’s  life — “Not  so  fast  mine  Jewish  friends.” 

ACT  IV. — Uncle  Zeb’s  farm — Baldy  and  Maudy — Baldy  has  a  difficult  task  in 
making  the  butter  come— Richard  arrives  to  claim  and  take  possession  of  the 
farm — Baldy  uses  a  pitch  fork  to  good  advantage — Rose  explains  the  cause  of 
her  leaving  home  with  Richard — Violet’s  story  of  her  life — Uncle  Zeb.  discovers 
that  Violet  is  his  long  lost  daughter,  Mary — The  lost  deed  is  recovered  and  the 
Til  lain  exposed  and  put  to  rout — Uncle  Zeb.  finds  he  is  a  very  rich  man — Happy 

Price,  25cts. 


Desperate  Grame. 


A  ^omic  Drama  in  1  act^  by  John  Madison  Morton,  for  S  male  and  2 
female  characters.  Time  of  performance,  65  miimtes. 


SYNO  PSIS  OF  EVENTS 

Ratcl ill  effects  an  entrance  and  disposes  of  an  unknown  intruder  by  locking 
him  in  a  closet — Mrs.  Somerton  relates  an  incident  to  Peggy— A  proposition 
which  is  carried  out  by  the  burglar — A  remarkable  tale  of  the  robbery— The 
loss  of  $15,000  makes  Postlehwaite  undecided  in  his  effection  for  Mrs.  Somerton 
— Captain  Ratcliff  confesses  to  tiie  burglary  in  order  to  get  rid  of  his  rival — 
Postlehwaite,  who  wanted  to  marry  Mrs.  Bomerton  for  her  mone\  —  Po^tleh- 
Waite  discoyers  bia  mistake  toe  late.  Prioe,  15Gt6.  ' 


The  Country  Squire. 


A  eomedy-drainii  in  four  acts,  by  J.  Howard  Bauman,  for  9  male 
(can  double  to  8  male)  and  4  female  characters.  Time  of 
playing  2  hours  and  30  minutes. 


SYJSrOPSlS  OF  EVENTS. 


ACT  I. — Home  of  Squire  Gray — Alice  and  Cynthia — The  mortgage 

—  “You  know  the  Squire  don’t  care  so  very  much  for  me” — “Daddy 
is  so  backward” — Arrival  of  Sally  with  her  lunch — Cynthia  disgusted 

—  “Why,  I  have  never  been  married” — Squire  Gray — Sally  finds  a 
home — “Good-b\^e  old  lady;  call  again” — The  Squires’  soliloquy — 
Anthony  Ross,  the  oil  agent — A  proposition  and  the  acceptance — 
“Whoopee!  Ten  thousand  in  clear  cash” — Cynthia  cannot  under¬ 
stand  Squire  Gray’s  peculiar  actions  — “He  seems  so  bashful” — A 
long  delayed  proposal — Ben,  Alicm  aiid  Jack — “The  price  of  my 
silence  is  a  good  sqnaremeal” — J  oh  n  Tarbarrow,  the  miser — “Leave 
my  liouse  before  1  strike  you  down” — A  threat — .lack  takes  a  hand 

—  “John  Tarbarrow  nothing  but  your  gray  hair  keeps  m«  from 
breaking  this  cane  over  your  miserable  hea,d.” 

ACT  H. — John  Tarbarrow’s  store  —  Barney— “Faith,  it’s  devilish 
slow  your  hurry  seems  to  be” — Solomon  Isaac,  the  peddler — “Daddy 


fears  the  mortgage  will  be  foreclosed 


Sure,  an’  it  is  a  wise  mon 


y  f 


y  y 


ye  are,  Mr.  Tarbarrow” — Barney  takes  a  snooze — Tarbarrow  plots 
revenge  on  Ben — Barney  is  taken  in  charge  by  his  wife,  Bridget — 
Cider  proves  a  little  too  strong  for  Sally — “We  ain’t  got  no  use  for 
tramps  here”— Squi re  Gray  takes  a  picture  of  Cynthia — Treachery — 
John  Tarbarrow  accuses  Ben  of  theft— Money  found  in  Ben’s  pocket 
— “So  you  are  a  thief,  Ben  Carlton;  he,  he,  he!” — “You  will  stand 
where  1  now  stand,  John  Tarbarrow,  under  the  shadow  of  a  crime. 

ACT  HI. — Oil  well  on  Squire  Gray’s  farm — “Curse  you,  Ben  Carl 
ton” — “It  will  all  depend  upon  us  striking  oil  in  the  next  half  hour 
— Alice  and  John— More  threats — Sally  and  the  cider — “You  hav<f 
had  too  much  cider  for  once  in  your  life” — Jack’s  story — Cynthia 
means  to  see  the  business  through  to  the  end” — Bridget  McGuire — 
John  Tarbarrow  attempts  to  foreclose  mortgage,  but  is  prevented  by 
oil  drillers — “Knock  down  the  first  man  who  attempts  to  climb  that 
fence” — Sally  appears  with  a  can  of  nitro-glyceri  ne  and  holds  Sheriff 
and  men  at  bay — “Get  back,  or  I  will  blow  you  all  to  smithereens” 
— “Hurrah!”  oil  flows — The  mortgage  canceled — Sally — “Look  out. 
Jack,  it’s  loaded!” 

ACT  IV. — Home  of  Squire  Gray — The  Squire  preparing  to  celebrate 
his  good  fortune— A  telltale  picture — The  clue  to  Ben’s  innocence — 
John  Tarbarrow’s  terms — “I  would  rather  die  behind  prison  bars 
first” — The  hearing  “Faith,  I’m  glad  to  see  ye  all,  except  ye,  ye 
old  lemon  face”— Bridget  has  her  say — Tarbarrow’s  testimony — The 
picture  proves  Ben’s  innocence  and  John  Tarbarrow’s guilt-“Bridget, 
you  are  a  disgrace  to  the  community”— “The  well  is  flowing  a  full 
hundred” — “Hurrah!  get  your  oardners  for  a  good  old  fashioned 
;ance.”  Price  25ets. 


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